ttpd this, ttpd that, fuck it, i just finished watching preludes & i can't stop crying

Lizzie the musical at Southwark Playhouse Elephant - some little moments that I loved, part 1/?

Background: This production originated at Hope Mill Theatre in Manchester. It features Lauren Drew as Lizzie; Maiya Quansah-Breed as her neighbour, Alice; Shekinah McFarlane as Lizzie’s sister, Emma; and Mairi Barclay as the Bordens’ housekeeper, Bridget. Esteemed tumblr user thegirl20 has many lovely photosets and gifsets of the cast, including this high-definition one where you can see the faces of everyone in the main cast (and also the set!)

I was lucky enough to catch this show with the main cast in London at the Southwark Playhouse Elephant a couple of times (plus once with Emma Louise Hoey as Lizzie and Ayesha Patel as Bridget) when they went on a mini tour in Nov/Dec 2023 :)

1. The House of Borden:

Bridget ladles out impressively gloopy gruel while singing about all-purpose mutton. Both Lizzie and Emma give it a wide berth (and say no to breakfast for the rest of the show).

Emma goes, 'we’ve no personal objection BUT SHE CAN'T HAVE WHAT'S OURS' – an increasingly-concerned Lizzie rushes over and shakes her head and Emma is temporarily mollified. Fair is fair in the House of Bordennnnn!

The way their voices go up in the last ‘let us take you to an August back in 1892’ – MUAH.

2. This Is Not Love:

Lauren Drew performs the majority of this song while sitting uncomfortably in an ornate armchair where something horrifying routinely happens. It’s very effective.

She really conveys the despair and the agony Lizzie feels – there's one bit in the final verse where she gasps out, 'this is not love' and she sounds so incredibly broken.

(“I want…to see arms outstretched to hold me / wanting nothing in return / but only for me to feel safe and secure”

She’s literally next door, Lizzie.)

And at the end she tears herself out of the chair with the line ‘I don’t know what it is, but I want out of it.’

3. ‘I love you too, Father.’

4. Gotta Get out of Here:

Lizzie absently trails her hand along Alice's arms and shoulders in this one bit at the start - Alice never stood a chance tbh.

Maybe I'll do a separate Alice x Lizzie highlights thing.

LOVE the energy in this song and how Lizzie almost seems possessed when she sings about something hanging over her and how she physically throws her body around.

Alice's higher 'stay here longer' when she joins in on the chorus is what angels dream of.

5. If You Knew:

Let's have MAXIMUM YEARNING

To set the scene: we’ve just come out of ‘Gotta Get out of Here’, where Lizzie expresses her need to get out of here and is hindered by Bridget, Emma and Alice (with some very cool dance breaks). Lizzie finally breaks free and Alice chases after her but loses her. We’re now in Alice’s bedroom where she’s thinking about Lizzie.

Lizzie is just off to the side (presumably in her own home or in her yard) looking sad and letting down her hair.

Alice is singing to herself about how much she loves Lizzie and wondering how Lizzie would react if she knew about this.

(She thinks a secret’s just a lie! This may or may not come back to bite us!)

Her voice just SOARS when she sings about dreaming about having Lizzie in her arms.

I like that this song expresses the pretty relatable concern of ‘oh no if you knew I had a big gay crush on you would you still let me touch you and comfort you’ but it doesn’t come with a side of ‘oh no it’s so wrong and gross for me to have feelings for another woman’. Thanks, Steven Cheslik-DeMeyer and Tim Maner!

And good news for Alice: YES Lizzie will let you hold her close when she knows about your secret gay feelings AND she will make out with you and hold you close too! You will get to be happy for approximately seven seconds before Bad News Bridget interrupts.

6. Soul of the White Bird:

'the violence of freedom'

Emma joins in with Lizzie from the side at ‘oh if I had wings like a dove’ - the harmonies!!

Bridget knits and goes la la la in counterpoint while Lizzie slowly falls apart.

7. ‘Lizzie, don’t!!’

8. Maybe Someday:

The FIRST iteration of this song and it’s Alice singing to Lizzie about how maybe someday her heart will be open. They may not get a conventional happy ending together but by god their story is integral to this show.

It is so sweet and then they end up cuddling and falling asleep!

I was going to save this for the Alice x Lizzie highlights, but this was too cute to leave out so I guess I'll just include it twice: Lizzie is the big spoon!!!

9. ‘Her bed is freshly made, as if she hadn’t slept in it at all!’ – Bridget, relishing her role as a gossipmonger-in-chief

10. Who hasn't had to kick a girl out in the morning because your sister needs to vent about developments in your father's will and is threatening to go to Fairhaven? Sisters, amirite?

11. ‘Emma, wait! What if Mrs Borden…dies first?’

12. Sweet Little Sister:

It has been said before and it bears saying again: vocals for DAYS.

The little lyric change to “I look into your cold dark eyes” to suit Lauren’s eye colour!

Bridget and Alice pop up with mic stands to sing along.

And then Emma fucks off to Fairhaven even though her sweet little sister was begging her to stay.

13. Mairi's delivery of 'oh Miss Emma you've forgotten your book! And she asked me to pack it S P E C I A L.' is so deeply funny.

14. Also hilarious: the very un-suspicious way Bridget slides the book of household poisons over to Lizzie.

15. ‘…time for Mrs Borden’s tea!’ I love Bridget.

This feels like a good time to take a break!

Charlie Cox Interview（Broadway.com in London）

April 14, 2008

Charlie Cox could be forgiven for choosing the allure of Hollywood over the daily grind of the West End. It's both bracing and somewhat surprising, then, to find the 25-year-old star of the fantasy adventure film, Stardust, not to mention the Al Pacino Merchant of Venice and Heath Ledger vehicle Casanova before that, on stage at the Comedy Theatre in a Harold Pinter double bill, The Lover and The Collection. 

It’s Cox's second-ever professional stage gig following a Southwark Playhouse production three years ago of Tis Pity She's A Whore. In the first of the two Pinters, both dating to the early 1960s, Cox makes a cameo appearance as a milkman suggestively delivering cream to the home of the adulterous (or is she really?) Gina McKee. But it's The Collection that tests the young actor's chops, playing both the boy toy of older gent Timothy West as well as a possible bedmate of McKee's Stella. (The truth, as so often in Pinter, is teasingly elusive.)

 The supremely open and affable Cox chatted to Broadway.com one recent Saturday before that day's two shows about his West End debut, fielding those famous Pinter pauses, and why the fame that surely awaits him is also in some way terrifying.

So, here you are nearing the final stretch of a four-month West End run when surely the demand for you to stick with movies must be intense.

I suppose, and there is a way in which this was the first real decision that I had to make, since I was offered a film at the same time as this play. But the truth of the matter is, when you start out acting, you take any job you can get. A lot of young actors nowadays are being forced into film and into fame, and they're not any better than when they started. And I've always thought the best possible scenario for my life and my career is longevity, and the theater has to be part of that.

But don't agents go, "You can't give over 16 weeks to lesser-known Pinter when you could be doing movies?"

It depends on who the agent is. My agent in England [Lindy King] is incredibly understanding. There is no such thing as "can" or "can't." She sees the bigger picture. I mean, obviously, she will advise me as to what she thinks is best for my career, but that's precisely why this appealed to me so much. I hope to do much more theater. I love it. I've had a fabulous time all the way through.

When you did Tis Pity at the Southwark Playhouse in 2005, that was only a three-week run. How have you found the eight-show-a-week routine over the past few months?

It's interesting: After rehearsals, a lot of the work is done, and you don't have to come into work and face new challenges as you often do on a film. I'm finding that when you do a long run, you have to go places you've never been before to keep the material fresh, and that's working with some very seasoned actors in both film and theater: Timothy West, Gina McKee... I will go through a period of four or five days when I feel I can't deliver, but then something happens that brings you out of any possible rut. It's about finding new ways of being able to hear it each night.

I'm sure the fact that it's Pinter is a major plus.

Yes, especially that it's Pinter. The words he uses are so precise and so brilliant and so perfect for their placement within a script that when we first started, I thought, I can't do this without a dictionary.

What about those celebrated Pinter pauses? Are they tricky to navigate?

Well, we have to remember that Pinter was an actor first and foremost, and he is there to help the actor in his writing. There's become this belief that you have to tap out the pauses, but he'll openly admit that is absolute bollocks. With Harold, the punctuation is even more important than the pauses and the silences.

Did Pinter come to rehearsals?

He came on three different occasions, and I was kind of all right with it. Gina and Rich were really, really scared. He had very, very few notes: he gave me some areas where I could slow down a bit.

It must be fun priming yourself for the intrigue of The Collection with your brief encounter with Gina in The Lover.

The two plays do work surprisingly well together in that Harold's characters tend to do battle with the same power struggle. But let's be honest: the milkman could be done by anyone; it's kind of embarrassing, actually. What happened was that Jamie [the plays' director, Jamie Lloyd] gave me the script and said that there's a small character in The Lover who's normally played by the person who plays Bill in The Collection: that made a lot of sense to me.

You began in theater with a Jacobean writer, John Ford. Do you see any Shakespeare in your stage future, especially having appeared with Al Pacino on screen in The Merchant of Venice?

I'd love to, though I don't find it very easy. I know there are some people who find that doing Shakespeare is just like chatting but I'm much more comfortable doing something more modern. I don't feel natural when playing royal monarchs [Laughs.]

You worked with the late Heath Ledger on Casanova and his awful death must prompt all sorts of questions about the price of fame.

God yes, though you'd never have encountered anyone genuinely kinder or less driven by ego than Heath. But I can honestly tell you that I never got into [this profession] for money or anything like that. Fame terrifies me to my very soul, I just fucking hate it. It makes me incredibly anxious.

You've clearly got a genuine sense of perspective, so I'm sure you'll deal with it just fine. What's next, once the play ends?

I've got a month off and then I'm off to Los Angeles to do another movie with Al Pacino, who this time is playing my dad, who is being taken off life support. It's called Lullaby, and the whole thing takes place in a hospital room; it's a dark comedy, actually.

~*~

Top five London theatres based on architecture and Vibes?

OOOOOOHHHH this is such a good question.

Kinda tricky though because I haven't been in them for so long and the vibes have changed big time over the last few years. this is mostly based on V i b e s and memories.

1. If you are going for BIG VIBES its got to be The Palace. Its just THERE. and its got that great facade that just screams "Advertise on me baby", theres a reason so many big shows open there. The foyer is also like N i i c e e. Shame its owned by Nimax and is currently home to Harry Potter and the Tourist Cash Grab.

2. Her Majesty's. The vibe here is kinda different to what it once was. I actually always loved how it was a bit run down and nicotine stained like a relic from the 80s, its a little cleaner now but the ashtrays are still on the walls. Its mostly vibe here that I love more than architecture and the vibe is so chaotic, the way the toilets are designed so you can't get in the door and the crazy amount of stairs and bottlenecks. And the fact that you can't see a damn thing from most of the INCREDIBLY SQUEAKY seats and you can only properly hear the vocals from the Grand. Ah it takes me back. I was also always in awe of the way the original edwardian stage mechanisms were incorporated into the production....but I guess thats kind of gone now.

3. Queen's. Not the Sondheim, Queens. This is my spiritual home. Dress circle A36 (RIP) complete with its resident mouse trap and little bit of fabric peeling off was my happy place. I love that theatre. Its actually a pretty good auditorium too, great acoustics and most seats have a pretty good view ...when you compare it to Phantom at least. The refurb is actually pretty great it just isn't the same...

4. The old Southwark Playhouse The southwark used to be under platform one of London Bridge Station and that was one hell of a vibe let me tell you....

5. Theatre Royal Haymarket I actually hadn't been into this theatre until this year but my gosh its really quite beautiful. I had always assumed from its massive facade that it would be huge and ridiculous inside but its actually surprisingly intimate and much older than I thought. I also love how VASTLY different your experience is in the Dress and the Grand. First two levels you get lavishly decorated staircases but anything above that you are obviously poor and we're not even going to bother cleaning your entrance, enjoy the steep steps to the balcony, peasants.

ASK ME MY TOP 5 ANYTHING!

Casting is announced for Pippin at Southwark Playhouse with Jonathan Carlton reprising his role as Pippin and Genevieve Nicole returning as The Leading Player. The principal cast is completed with Mairi Barclay, Bradley Judge, Tessa Kadler and Rhidian Marc. Players include Michelle Andrews, Andrew Halliday, Scott Hayward and Ellie Seaton.

Jonathan Carlton plays Pippin. He trained at Mountview Academy of Theatre Arts. His credits include Pippin (Hope Mill, Manchester), The Hired Man (Union Theatre), Whistle Down the Wind (NYMT Rose Theatre Kingston) and Songs for a New World (NYMT Bridewell Theatre).

Genevieve Nicole Plays The Leading Player. She trained at Laine Theatre Arts. Theatre credits include The Producers (UK Tour), The Golden Age of Dance (Theatre Royal, Drury Lane), Guys and Dolls (Savoy Theatre and Phoenix Theatre), Dirty Rotten Scoundrels (Savoy Theatre), Spamalot (Palace Theatre), Miracle on 34th Street (UK Tour), A Chorus Line (Palladium), Chicago, White Christmas (UK Tour). Television includes Tonight at the Palladium, Diet on the Dancefloor, The Alan Titchmarsh Show, This Morning, Top of the Pops and The F Word.

Pippin is transferring to Southwark Playhouse from Manchester’s Hope Mill Theatre for a limited four-week season from next month

Aria Entertainment, Hope Mill Theatre and Guy James Theatrical present PIPPIN. Book by Roger O. Hirson. Music and Lyrics by Stephen Schwartz. Directed by Jonathan O’Boyle. Musical direction by Zach Flis. Designed by Maeve Black. Choreographed by William Whelton. Lighting design by Aaron J Dootson. Cast: Michelle Andrews. Mairi Barclay. Jonathan Carlton. Andrew Halliday. Scott Hayward. Bradley Judge. Tessa Kadler. Rhidian Marc. Genevieve Nicole. Ellie Seaton

Press performance: Wednesday, 28 February at 7.30pm Run: Friday 23 February – Saturday 24 March 2018

Vaudeville, magic, comedy, romance – life is an adventure and Pippin has it all.

Jonathan O’Boyle’s acclaimed production of the multi-Tony Award-winning musical Pippin by Grammy and Academy Award recipient Stephen Schwartz (composer of the global smash hit Wicked) will transfer to Southwark Playhouse’s Large space in spring 2018.

A soul-searching exploration of one man’s journey to find himself, his place and purpose in life, Pippin is a musical about an ordinary man on an extraordinary journey. Featuring a stunning score including classics Magic to Do and Corner of the Sky, Pippin was originally directed by the great Bob Fosse and recently completed a hugely successful Broadway revival. This new production spreads a darkness over the innocent tale of the exciting life and adventures of young Prince Pippin, told by a mysterious troupe of Victorian Vaudeville players who promise the audience ‘a finale you will remember for the rest of your lives…’

Stephen Schwartz says: “I am so pleased that such a successful and well-received production of Pippin has finally happened in the UK, and I’m incredibly excited to be sharing it with a London audience.”

Pippin will be the third production from Manchester’s Hope Mill Theatre to transfer to London’s Off-West End in under a year. The team’s production of Hair has just completed its acclaimed run at The Vaults.

Originally produced on the Broadway stage by Stuart Ostrow. Directed on the Broadway stage by Bob Fosse. Performed by arrangement with Music Theatre International (Europe) Limited.

Listings Information Southwark Playhouse 77-85 Newington Causeway London SE1 6BD http://ift.tt/NsSQwM www.pippinlondon.com

http://ift.tt/2rk9ux4 London Theatre 1

Things To Do In London This Weekend: 28-29 January 2017

All weekend See a neon recreation of the House of Parliament at Chiswick House. Photo: Londonist BREATHE: A weekend of installations, performances and workshops, Space to Breathe at Somerset House is a creative response to the rising pollution levels in London. Find out what you can do to make the city less congested and more energy efficient. Free, just turn up, until 29 January [noon-6pm] THE LIRTERATI: Follow Millie on her journey to becoming a serious journalist as she goes underground with the Litterati community, in this play at Vaults Festival. £15, book ahead, 25-29 January MAGIC LANTERNS: The Magical Lantern Festival is back at Chiswick House Gardens. Follow the trail through the gardens to see lantern installations themed on the Silk Road and the Chinese Year of the Rooster. You can also enjoy ice skating, food from around the world and funfair rides. £16.50/£10.50, book ahead, until 26 February OPEN PLAN: Open Plan at House of Vans in Waterloo is an immersive exhibition showcasing works by modern artists that use painting and sculpture to explore space and architecture. Free, just turn up, 26 January-12 February EXHIBITION OF PAINTINGS: Despite being colourblind and having tunnel vision, William Lethorn has found success in the world of art. Working with oils, acrylics, charcoal — and taking inspiration from religion, history and landmarks — Lethorn's selected works are currently being displayed in Exhibition of Paintings at Artsdepot in North Finchley. Free, just turn up, until 8 February ETHICAL TAXIDERMY: Jazmine Miles-Long challenges the ideas and perceptions of taxidermy with her exhibition, Memorial. A Tribute to Taxidermy, at the Horniman Museum. Miles-Long pays tribute to unknown craftsmen of the past, while also demonstrating that taxidermists not only preserve of animals but are masters of many skills. Free, just turn up, until 1 May Saturday 28 January Keep the little ones entertained at Half Moon Theatre with A Square World. FAMILY TIME: Celebrate Chinese New Year at Museum of London Docklands. Take your children along for storytelling, paper-cutting, dragon dancing and more with this special family festival Free, just turn up, from 11am A SQUARE WORLD: A sweet, touching story looking at the unfairness of being left out in the world, A Square World follows three friends as they redefine the meaning of the square world. The theatre show, aimed at 3-6 year olds, takes place at Half Moon Theatre in Limehouse. £7, book ahead, 11am/2pm CHARACTER ENCOUNTERS: Take the kids to the National Maritime Museum for Character Encounters. Explore the struggles of tea trade between Britain and China, dive into the sea with Neptune or learn about life as a Caribbean woman from Pearl Morris. Free, just turn up, noon-3pm (different time slots) INSIDE THE BOX: Perfect for quick-thinkers and creative minds, Inside the Box Game Jam on Brick Lane is a day dedicated to creating a tabletop game in a short amount of time, with prizes and the chance of having your game published. From £10, book ahead, noon-10pm DOMESTIC THEATRE: A pitch black comedy with an all female cast, The Wives of Others surrounds a group of women, all wives of underground criminals, at a dinner party. Set in 1955, New York City, the job that their husbands are on falls apart,  and so does the dinner party. Performed at OSO Arts Centre in Barnes. £12-£15, book ahead, 7pm CLAZZICAL MUSIC: Join British Jazz Award winner Julian Marc Stringle and his Dream Band as they join forces with Sonia Slany’s Solid Strings for an evening of a fusion of classic melodies and Latin rhythms at Chickenshed Theatre in Southgate. £20-£25, book ahead, 8.30pm DJ, DRINKS & DANCE: Fancy an evening of cocktails, dancing and old-school tracks? Let loose with Drink, Shop & Do's DJ, Drinks & Dancing in King's Cross. Free until 10pm, £3 after. Sunday 29 January Take the kids to see The Bear at Artsdepot. CHINESE NEW YEAR: Head on down to Chinatown for the 2017 Chinese New Year Parade. Complete with puppeteers, costumes and music, it's the biggest Chinese New Year parade outside of Asia. Here's everything you need to know. Free, just turn up, from 10am THE BEAR: Keep the little ones entertained with a performance of The Bear at Artsdepot in North Finchley. Follow Tilly on her adventure with a very large polar bear that turns up in her bedroom one night. Aimed at age 3+. £9, book ahead, 11am/2pm RIVER FLEET: Go back in time with this guided tour down the River Fleet. Learn all of the secrets of the Fleet Valley, from the hidden viaducts to the Grecian villas. £12/£9, book ahead, 10.30am-12.30pm IMPACT BOXING: Test your right hook with IMPACT Boxing's workshop at Ace Hotel in Shoreditch. Suitable for all levels, get yourself ready for the week ahead with this crazy fitness workshop. £20, book ahead, 11am-noon ANTI WINTER BLUES: Fight those January blues with a movie at House of Vans. Chosen especially as a part of their Anti Winter Blues season, they will be screening It's Kind of a Funny Story, a movie about a teenage boy who checks himself into a psychiatric ward as he battles depression. Free, just turn up, 2pm/4pm BURNS CELEBRATION: Celebrate Burns Night with an evening of music from the UK's top folk performers at Union Chapel in Islington. Visitors will hear some of poet Robert Burn's work put to music for the first time. £15, book ahead, 7pm RAILWAY COMEDY: Have a laugh with Comedy at the Railway Streatham. Join Ellie Taylor, Nigel NG and other comedians as they take you through their hilarious anecdotes. £6, book ahead, 7.30pm Stage review: A devastating portrayal of benefit cuts Joseph Quinn as Dean Carmody and Erin Doherty as Tamsin Carmody in WISH LIST. Photo: Jonathan Keenan It’s not hard to see why Katherine Soper’s debut play bagged the Bruntwood Prize: tightly structured, surprisingly funny, and incredibly poignant, this is a quietly devastating portrayal of life under Britain’s benefit cuts. The four-strong, first-rate cast in Matthew Xia’s production will leave you feeling battered, but oddly hopeful, in this exposé of the lengths to which some will go to protect the ones they love. Wish List, Royal Court, Sloane Square, Chelsea, SW1W 8AS. From £10, until 11 February ★★★★☆ Savannah Whaley Stage review: Relentless locker room talk to music Gabriel Vick as Chuck & Daisy Maywood as Fran. Photo by Claire Bilyard A bubbling Bacharach soundtrack, inspired production and enthusiastic cast doesn't hide the fact that Promises, Promises at Southwark Playhouse overplays its paper-thin story, for three hours. But leads Gabriel Vick and Daisy Maywood make such a cute couple you might feel inclined to want to take them home. When they come together and sing "I'll Never Fall In Love Again" it is sublime music making.Promises, Promises, Southwark Playhouse, Newington Causeway SE1. £25/£20, until 18 February ★★★☆☆ Paul Ewing Funzing Fun things to do with our friends and sponsor Funzing. A Taster to Theatre Gym - Limited time offer Experience life on stage and see what it takes to be an actor at Theatre Gym. Learn performance skills and network without networking in the class led by trained actress Tal Jakubowiczova. £5 Get tickets Molecular Gastronomy Tapas Dinner Workshop - Clapham Ever fancied yourself as the next Heston Blumenthal? Discover the science meets of molecular gastronomy and help science meet flavour in a vegan tapas dinner workshop. £45 Get tickets Experimental Chocolate Club: Feelgood Flavours Christmas + chocolate = pure bliss, no? Thankfully someone's found a way of combining the two in the form of Experimental Chocolate Club. Spend the afternoon experimenting with some surprising chocolate taste combinations and learning how to taste chocolate properly (it's serious business, you know). Best of all, you'll get some chocolate treats to take home with you. Get tickets

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Gazing at a Distant Dramaturgy: James Haddrell @ Edfringe 2017

              As part of the Edinburgh Festival Fringe 2017, Greenwich Theatre presents

GAZING AT A DISTANT STAR

Directed by James Haddrell, Written by Siân Rowland

Shortlisted for the 2016 RED Women's Theatre Awards Gazing At A Distant Star will be performed from Thursday 3 - Monday 28 August at Assembly George Square (studio 5), 12.15pm.

Arun saves for university. Anna trains for a dreaded 5k run. Karen searches for her missing son. This acclaimed play is about those who go missing and the people who are left behind. The piece sees three lives struggling to cope with loss and find the light beyond.

In the UK, more than 250,000 children, young people and adults go missing every year. Gazing At A Distant Star explores what it means to be one of the people left behind, often left without any knowledge of where those who are missing have gone, whether they are alive or dead, even why they left in the first place. The production had a sell-out run in the new Greenwich Theatre studio in January 2017 and written by Missing People Choir member Siân Rowland and directed by Greenwich Theatre’s Artistic Director James Haddrell.

What was the inspiration for this performance?

Writer Sian Rowland is closely linked to the Missing People choir – the group of amateur singers that rocketed into the public eye when they reached the final of Britain’s Got Talent earlier this year. Having heard the stories of countless people who have lost loved ones, and being drawn to stories in the press about those who go missing she was particularly interested in writing about that, but not a classic pop-culture thriller about a dramatic search for someone who has gone missing. Rather she was interested in the experience of those left behind, often living for decades without knowing whether their loved one disappeared out of choice or by tragic circumstance, whether they are alive or dead, or whether they will ever see them again.

Is performance still a good space for the public discussion of ideas? 

Yes, absolutely, but with one major proviso. It is common in the arts to attract an audience with a particular political and social outlook, so there is a risk of preaching to the converted. However, that being said, live performance is still the most impactful form of entertainment, and seeing the huge increase in interest in, and donations to, the Missing People charity after their prime-time TV performances this year, it certainly has the power to move and to stimulate action.

How did you become interested in making performance?

I did not have the opportunity to see a great deal of live performance when I was very young, but theatre trips with school were a bit of an epiphany for me. I’ve always liked storytelling, in any form, so when I did get the chance to go to the theatre, having the storytelling experience that I’d previously found through reading books, listening to audiobooks and watching tv shows brought to life by actors on stage was inspiring.

Is there any particular approach to the making of the show?

Gazing At A Distant Star is about three people who have lost someone close to them, and those three people tell the audience their stories. However, we’ve always been aware that whilst the characters on stage are speaking from the ends of their stories, the audience have to go on the journey that the characters have already experienced or there is no drama. Therefore the three actors step in and out of each other’s stories, bringing them to life, taking the audience backwards and forwards through their lives. The three characters don’t know each other – they are all very different, and from very different backgrounds – but their lives do intersect here and there so we’ve enjoyed exploring those sparks between them. We have also been thinking about the fact that this could happen to anyone. Any of us could lose a loved one and not know why. It often comes as a complete surprise to those left behind, so we have literally bleached all of the identity out of the set and props. It’s all there but it has no identity whatsoever. Those photographs, or newspaper cuttings, or chairs, or telephones, could belong to any one of us.

Does the show fit with your usual productions?

I don’t think I have a usual style of production. Under My Thumb, which I have also directed for this year’s Fringe and which is playing at Assembly Roxy, is a gritty, all female-thriller set in a dystopian version of the world where women are imprisoned for speaking out against abuse. I guess if there’s one thing that does characterise my shows, it’s truthful performances. In both shows, in one version of the world or another, these events could happen to anyone so the characters on stage have to be very real.

What do you hope that the audience will experience?

With luck they will share the emotions of the characters on stage, and those are very varied. It would be easy to settle on sadness or depression, and those feelings are clearly very relevant, but our characters go through anger with the person who has disappeared, hope that they will return, joy in reliving past memories, and maybe, in some cases, resolution. If audiences can share those journeys, and revel in Sian Rowland’s sensitive, funny, astonishingly perceptive writing then the cast and I will have done our jobs properly.

What strategies did you consider towards shaping this audience experience?

The show is based on direct address to the audience, as a surrogate for someone or something else. Anna talks to a photograph, Karen talks to her videophone and Arun talks endlessly on the phone in the call centre, but for us the most direct impact on the audience is generated by talking directly, so very quickly those theatrical devices become secondary to the three characters talking to the audience. We also didn’t want the show to seem like 3 interwoven reminiscences or lectures, so we do use a range of theatrical extras to animate the show, through light, sound, music and the animation of the past through scenes played by the full cast. Ultimately, these three emotional stories are brought together in a piece of complete theatre played by three incredibly talented actors and in the case of each character the audience, having spent an hour in their company, will have understood the joy that existed before the disappearance, the confusion and the range of emotion that accompanied the gradual release of information, and the resolution reached by the characters at the end, whatever that may be.

Writer Sian Rowland has a background as an education consultant and trainer, Siân came to playwriting three years ago after being recognised by Funny Women as one of their ‘ones to watch.’ She has created a broad portfolio of short and one act plays which have played at venues including Southwark Playhouse, Wimbledon Theatre Studio, The Etcetera and The Cockpit. She writes comedy for News Revue, the world’s longest running live comedy show at Canal Café Theatre and is a reviewer for London Pub Theatres. Siân was a finalist in the Red Women’s Theatre Awards for her short play Spurn The Dust.

James Haddrell – Director, is also the Artistic & Executive Director of Greenwich Theatre, chair of Filament Theatre, a mentor for UK Theatre and a governor for Corelli College. In his role for Greenwich Theatre he has provided everything from direction and dramaturgy to company mentoring and strategic planning for over twenty of the UK’s most exciting young and emerging theatre companies. Most recent direction includes One Georgie Orwell for performances in London and New York, Hannah and Hanna (New Diorama Theatre, Assembly Edinburgh Fringe, Greenwich Theatre), and Joël Pommerat’s This Child (Greenwich Book Festival). As a producer his credits include ten Greenwich Theatre pantomimes, hailed by the media as ranking among the best in the country, and the world premieres of Keeping Up With The Joans by Philip Meeks, Momo adapted by Filament Theatre from the novel by Micheal Ende, and the site specific production of Utopia, awarded the London 2012 Inspire Mark by the International Olympic Committee. This autumn he will produce the national tour of Daniele Imara’s Get Therapy.

LISTINGS INFORMATION: Gazing At A Distant Star will be performed from Thursday 3 - Monday 28 August at Assembly George Square (studio 5), 12.15pm. Tickets £6 - £12 Website: greenwichtheatre.org.

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Tony Award-nominated Broadway musical Bring It On The Musical, a universal coming-of-age story that mixes competitive cheerleading, high school politics and teenage romance, is to be produced by The British Theatre Academy.

After two years in summer residence at the Ambassadors Theatre in the West End, The BTA are completely taking over Southwark Playhouse for the summer with 2 productions, and others at The Stockwell Playhouse and the world famous open air Minack Theatre.

Bring It On The Musical, written by a crack team including Tony Award winner Lin-Manuel Miranda (Hamilton, In the Heights), Tony Award winner Jeff Whitty (Avenue Q) Pulitzer Prize and Tony Award winner Tom Kitt (Next to Normal) and Broadway lyricist Amanda Green (High Fidelity), will be directed and choreographed by Ewan Jones in The Large at Southwark Playhouse from 2 August – 1 September.

Press night is Tuesday 7 August at 7.30pm.

The summer season will open in The Small at Southwark Playhouse with an adaptation of the beloved novel Goodnight Mr Tom by Michelle Magorian, adapted by David Wood the UK’s ‘National Children’s Dramatist’ (The Times). Set during the dark and dangerous build-up to the Second World War, Goodnight Mister Tom follows sad young William Beech, who is evacuated to the idyllic English countryside and builds a remarkable and moving friendship with the elderly recluse Tom Oakley. All seems perfect until William is devastatingly summoned by his mother back to London. Goodnight Mister Tom is a tale of two broken souls at very different ends of the age scale that celebrates the value of love and proves that friendship knows no barriers. It will run 25 July – 25 August.

Press night is Tuesday 31 July at 8pm.

The BTA will also revive the acclaimed Broadway musical Spring Awakening The Musical, winner of eight Tony Awards including Best Musical, Book and Score and 4 Olivier Awards including Best New Musical, at The Stockwell Playhouse from Tuesday 14 – Sunday 19 August. A rock musical with music by Duncan Sheik and a book and lyrics by Steven Sater, based on the 1891 German play Spring Awakening by Frank Wedekind, it tells the growing pains of teenagers discovering their sexuality. It will be directed by Dean Johnson (Godspell).

Press night is Thursday 16 August at 8pm.

Closing the season is the record-breaking Broadway musical Chicago set in Prohibition-era Chicago with music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse. It will be staged at the world famous open air Minack Theatre, a breath-taking open-air auditorium, at Porthcurno near Land’s End in Cornwall, from Monday 24 – Friday 28 September.

The British Theatre Academy was set up to give talented young people the opportunity to perform in top venues nationwide for free. Over the past three years the company earned rave reviews for productions of Annie Jr, The Secret Garden, The Adventures of Pinocchio and 13 – The Musical in the West End. In May, the BTA staged a scintillating concert performance of Broadway musical The Color Purple, starring Marisha Wallace (Effie in Dreamgirls) alongside members of the BTA. The British Theatre Academy is a unique performing arts programme that has inspired and nurtured the talent of thousands of young performers over the past 30 years We believe that children should be trained as professionals by professionals. Our team maintains an established link with casting directors, music producers, and talent agents across the world. We are passionate about releasing the individual skill and flair of each student in all aspects of their chosen field. Our experienced creative team provide exceptional training and are dedicated in preparing and inspiring our students at the highest level. Last Summer the BTA brought The Secret Garden and Godspell into the West End where over 500 outstanding cast members wowed the audiences all summer long and performed alongside musical theatre stars Kerry Ellis, Ramin Karimlooo and George Maguire.

Producer Matthew Chandler of the British Theatre Academy said: “It is has been an incredible year for the BTA and to date all our productions and concerts have given 1,500 children the chance to perform on the West End stage. For our last summer season, more than 2,000 young people auditioned for The Adventures of Pinocchio and over 1,000 teenagers for 13 The Musical, and we had 3 teams performing 13 The Musical. The summer season is a fantastic opportunity for all the youngsters involved. The search for talented young people under 25 will begin in January when auditions will be held.”

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Chronicles of Narnia star, Georgie Henley, will make her professional stage debut in the world premiere of Philip Ridley’s new monologues, Angry, February 2018 at Southwark Playhouse.

Henley will be joined by a male actor (casting to be announced), to perform the series of five gender-neutral monologues on subjects as diverse as refugees, millennial anger, and interstellar travel. All five monologues will be performed by each actor over the course of the run, but which actor performs each individual monologue will alternate night-to-night.

A spaceship hurtles towards a black hole. A book-loving couple flee a burning city. A bloodshot eye conjures up kisses and wild animals.  Angry is a menacing, magical, and darkly comedic collection of stories that vibrate with the lingering unease of our times.

Philip Ridley developed Angry over a four-year period in a close partnership with director Max Lindsay. “Phil and I started exploring things that made us, well angry, and the play sort of grew out of that.” says Lindsay, “We were drawn to this idea of what it means to be a man and to be a woman in the modern world, and where the differences are. Having the same words said by both a man and a woman over the course of the run will give the audiences the chance to see the how the same events can have a very different impact.”

“What’s incredible is how relevant Angry feels today. Phil wrote it before President Trump, Weinstein and #MeToo but it feels like it could have been a direct response to current events. He’s always a dozen steps ahead of the rest of us, it’s part of his genius.”

Georgie Henley

Georgie Henley shot to worldwide fame aged eight when she was cast as the lead, Lucy Pevensie, in the Oscar-winning Chronicles of Narnia series. She took time out of acting to study English at Cambridge before returning to star opposite Ella Purnell in indie film Access All Areas.

The show is being produced by Tramp, whose Offie-nominated production of Tennessee Williams’ Confessional broke Southwark Playhouse’s box office record last year for their studio space, The Little. Jack Silver, Artistic Director of Tramp, said: “It’s amazing to be back at Southwark Playhouse with such an incredible piece of writing. When I first read it I was just blown away, but it wasn’t until we started auditions that I realised quite how incredible Phil’s writing is. Seeing so many actors give their take on the monologues was mesmerising. It gives the actors a blank canvas and yet there’s a magnetic rhythm to the words.

“Having seen the Narnia films I was expecting Georgie to be good but obviously I’d only seen her play one character,” says Silver, “But she absolutely blew us away in both her auditions. She’s a major acting talent and I think audiences are going to be surprised at just how mature and versatile she is. It’s incredibly exciting to be able to be involved in her professional stage debut and to bring Max, Phil, and Georgie’s phenomenal talents together. I have a sneaky feeling the audience are going to tell their friends ‘I was there!’ in years to come.’”

Cast: Her — Georgie Henley Him — TBA Creative Team: Writer — Philip Ridley Director — Max Lindsay Designer — James Turner Donnelly Casting Director — Jane Frisby Casting Assistant — Stephanie Hume Production Company — Tramp Producers — Jack Silver and Hannah Tookey PR — Paul Sullivan Social Media — Danielle Boobyer

ANGRY by Philip Ridley Directed by Max Lindsay Venue: Southwark Playhouse Dates: Weds, 14 th February to Sat, 10 th March 2018 (Not Sundays) PRESS NIGHT – FRIDAY, 16 th FEBRUARY 8.00pm Time: Mon to Sat – 8.00pm (Tues & Sat Matinee – 3.30pm) Box office: 020 7407 0234 http://ift.tt/NsSQwM

http://ift.tt/2iCYTGp London Theatre 1

Six Cast

The cast and creative team is announced today for the London premiere of the new British musical SIX that sees the 6 wives of Henry VIII singing their way out of the history books and into the West End spotlight.

From Tudor queens to pop princesses and with songs including Ex Wives, Haus of Holbein and Don’t Lose Ur Head, this pop concert remixes 500 years of historical heartbreak into one hour of 21st century sass. If you thought this show was all about one man – you thought wrong!

Cast: Aimie Atkinson (Katherine Howard) was Daniela in In The Heights, Elizabeth the lead in Dirty Dancing and won the BBC Voice of Musical Theatre contest.

Izuka Hoyle (Catherine Parr) was Selena in the musical Working at Southwark Playhouse. She was Stephen Sondheim Society Student Performer of the Year 2017.

Renée Lamb (Catherine of Aragon) was Roz Keith in the musical 9 to 5.

Genesis Lynea (Anna of Cleves) is best known as series regular Maddie Harper in The 4 O’Clock Club, the CBBC series about hip hop and homework.

Christina Modestou (Anne Boleyn) was Nina in In the Heights, she was also in Shrek and Urinetown and covered and played Killer Queen in We Will Rock You.

Natalie Paris (Jane Seymour) was Louise in Sunday in the Park with George at the Menier Chocolate Factory and appeared in West End musicals Billy Elliott, Chitty Chitty Bang Bang and Les Miserables, as young Cosette.

Creative team: Director Lotte Wakeham, Choreographer Cressida Carré, Musical Director Joe Beighton, Orchestrations Tom Curran, Sound Designer Andy Graham, Lighting Designer Rebecca Fry, Costume Designer Roberto Surace, Associate Director Jamie Armitage.

SIX started life with Cambridge University Musical Theatre Society at the Edinburgh Festival Fringe 2017, where it was nominated for the inaugural Musical Theatre Review Best Musical Award. The original production, directed by Jamie Armitage, attracted the attention of producers Kenny Wax and Global Musicals, who are presenting this all-new production for the show’s professional premiere at the Arts Theatre in London on 18 December, 8, 15 and 22 January.

Writers Toby Marlow and Lucy Moss said: “This really is a dream come true. We’d like to thank Prince Harry and Meghan for announcing their engagement this week and helping raise interest in Royal brides to fever pitch – although they haven’t got back to us after we offered to provide entertainment at the wedding!”

Toby Marlow and Lucy Moss – Writers Toby and Lucy met at university, where they spent three years making theatre together and neglecting their degrees. In January 2017, they made their first foray into writing as a duo with the musical, SIX. Following the show’s success in Edinburgh, they are incredibly excited for its debut at the Arts Theatre. The team also make up two-thirds of the award-winning theatre company Hot Gay Time Machine, whose show, Hot Gay Time Machine, enjoyed considerable success at the fringe this year, and a sold out run at The Other Palace in November.

Lotte Wakeham – Director Productions as director include: The Hound of the Baskervilles (English Theatre Frankfurt/Jermyn Street), Di and Viv and Rose (Stephen Jospeh/New Vic), The World Goes Round (Stephen Joseph), Wonderland (UK tour), The Buskers Opera (Park Theatre), A Midsummer Night’s Dream (Guildford Shakepeare Company), Upper Cut (Southwark Playhouse – nominated for the Alfred Fagon Award), Lizzie Siddall (nominated for 2 Off West End Awards), The Kissing-Dance (Jermyn Street – nominated for ‘Best Director’, Off West End Awards). Associate director: Matilda the Musical (RSC/West End/Broadway).

Cressida Carré – Choreographer Credits as Choreographer include: The Woman in White (Charing Cross Theatre) Jersey Boys (International Tour); Promises, Promises (Southwark Playhouse); Sweeney Todd (Mercury Theatre & Derby Theatre); Eurobeat (Edinburgh Fringe); Titanic (Charing Cross Theatre, Southwark Playhouse & Toronto); Laila the Musical (Watford Palace Theatre/UK Tour); Beyond the Fence (Arts Theatre); Avenue Q (Greenwich Theatre & UK Tour). Awards: Off West End Awards for Best Choreography for Titanic (Southwark Playhouse), Whatsonstage Awards for Best Off West Production Titanic (Southwark Playhouse).

Kenny Wax Ltd – Producer Kenny has produced three of Mischief Theatre Company’s hit shows, the Olivier award-winning The Play That Goes Wrong (in its fourth year at the Duchess theatre, and currently the longest running play on Broadway), the Olivier-nominated Peter Pan Goes Wrong at the Apollo Theatre and Olivier-nominated The Comedy About A Bank Robbery at the Criterion Theatre. Kenny produced the world-premiere production of Top Hat, which was the recipient of three Laurence Olivier Awards including Best New Musical from its seven nominations, and the Evening Standard Award for Best Night Out and Once On This Island which won the Laurence Olivier Award for Best Musical in 1995 from its four nominations. This year Kenny produced Sally Cookson’s adaptation of Francesco Fellini’s Oscar winning masterpiece La Strada which ran at The Other Palace following a regional tour and Around the World in 80 Days, a co-production with the Stoke New Vic Theatre. He was honoured to be nominated as ‘Producer of the Year’ at the 2017 Stage Newspaper Awards and in June 2017 Kenny was appointed President of the Society of London Theatre which provides a collective voice for the theatreowners, producers and managers of all the major commercial and grant-aided theatres across London.

Global Musicals Ltd – Producer Global Musicals Ltd is a brand new theatre company established in 2017 by producers Andy and Wendy Barnes. The company aims to focus on innovative new musical theatre, to discover and produce exciting musicals that will appeal to a younger generation of theatre goers. Andy and Wendy are also the producers of non-profit theatre company Perfect Pitch, a company founded in 2006 and dedicated to developing new British musicals by emerging writers through workshops, readings and showcases. Having worked exclusively with new British musicals over the last 11 years, Andy and Wendy hope their new company will be able to provide the much needed funds to take young shows to that next step, from development to full commercial production and longer term life.

LISTINGS The London premiere of SIX by Toby Marlow and Lucy Moss

ARTS THEATRE 6-7 Great Newport Street London WC2H 7JB artstheatrewestend.co.uk Running time: 70 mins (approx) no interval 18-12-2017to22-01-2018

Social media: Facebook: sixthemusical Twitter: @sixthemusical http://ift.tt/2niDSG4

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Sheila Hancock

Olivier Award-winning West End star Sheila Hancock is to star in the London premiere of the black comedy romantic drama Harold and Maude.

Harold and Maude, by Colin Higgins, will reunite Sheila with director Thom Southerland after their acclaimed sold-out success with the UK premiere of the musical Grey Gardens in 2016.

Harold and Maude will premiere at Charing Cross Theatre from Monday 19 February and run for a strictly limited run of 6 weeks only to Saturday 31 March, 2018. Press Night is Monday 26 February 2018 at 7.30pm

Harold and Maude is an idiosyncratic romantic fable told though the eyes of the most unlikely pairing: a compulsive, self-destructive young man and a devil-may-care, septuagenarian bohemian.

Dame Marjorie “Maude” Chardin (Sheila Hancock), is a free spirit who wears her hair in braids, believes in living each day to its fullest, and “trying something new every day”. Harold Parker Chasen is an 18-year-old man who is obsessed with death, attends funerals of strangers for entertainment and stages elaborate fake suicides. Through meeting Maude at a funeral, he discovers joy in living for the first time. Part dark comedy and romantic innocence, Harold and Maude dissolves the line between darkness and light along with ones that separate people by class, gender and age.

More cast and creative team to be announced.

Artistic Director of Charing Cross Theatre, Thom Southerland said: “I couldn’t be more thrilled to be bringing Colin Higgins’ masterpiece Harold and Maude to Charing Cross Theatre for its first ever London production. I am honoured and delighted to be teaming up again with Sheila Hancock on this incredible piece, which dares us to think beyond the obvious.” Harold and Maude is produced by Patrick Gracey, Steven M. Levy and Vaughan Williams.

Sheila Hancock’s extensive career spans theatre, radio, television and film, and she is also now enjoying a career as a features presenter and as a writer including The Two of Us which won the British Book Award for Author of the Year, and her debut novel Miss Carter’s War. Her recent theatre roles in London include Edith “Big Edie” Ewing Bouvier Beale in Grey Gardens, Fraulein Schneider in Cabaret (Olivier Award, Clarence Derwent Award), Mother Superior in Sister Act the Musical (Olivier nomination); Emmie Packer in Barking in Essex and ‘Mum’ in The Anniversary (a role played by Bette Davis while Sheila played the daughter-in-law, in the film version); Maitre Suzanne Blum in The Last Duchess (Hampstead), and Meg in The Birthday Party (Lyric Hammersmith). She was in the original London productions of Annie and Sweeney Todd (Olivier nomination), and Rose in Gypsy at West Yorkshire Playhouse (TMA Best Actress Award). In New York, as Kath in Entertaining Mr Sloane (Tony nomination).

Thom Southerland’s is Artistic Director at Charing Cross Theatre. His opening season of major musicals included the European première of Maury Yeston’s Death Takes A Holiday, the return of his acclaimed multi award-winning Titanic and Ragtime (nominated for a record 14 Off West End awards). He is directing the first ever revival of Andrew Lloyd Webber’s The Woman in White at Charing Cross Theatre in December. He was longlisted Best Newcomer in the 2011 Evening Standard Awards for Parade. He was named Best Director at the 2011 The Offies for Me And Juliet at the Finborough. He directed Allegro, Grey Gardens, Grand Hotel, Titanic, Victor/Victoria, Mack & Mabel and Parade (Southwark Playhouse); The Smallest Show on Earth (Mercury Theatre, Colchester & tour); Jerry Herman’s The Grand Tour (Finborough); The Mikado (Charing Cross Theatre); Daisy Pulls It Off, Irving Berlin’s Call Me Madam! (Upstairs At The Gatehouse); the European première of I Sing!, Divorce Me, Darling!, Annie Get Your Gun, The Pajama Game and sold-out all-male adaptations of Gilbert and Sullivan’s HMS Pinafore and The Mikado (Union); Noël and Gertie (Cockpit); the European première of The Unsinkable Molly Brown (Landor); the European première of State Fair (Finborough & transfer to Trafalgar Studios).

LISTINGS INFORMATION Patrick Gracey, Steven M. Levy and Vaughan Williams present Harold and Maude by Colin Higgins

Charing Cross Theatre The Arches Villiers Street London WC2N 6NL http://ift.tt/HQ6NWc

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Helen Woolf (Glinda), Amy Ross (Elphaba) and Aaron Sidwell (Fiyero). Photo Credit Darren Bell

WICKED, the West End and Broadway musical phenomenon that tells the incredible untold story of the Witches of Oz, is delighted to announce that Amy Ross (Elphaba), Helen Woolf (Glinda), Steven Pinder (The Wizard and Doctor Dillamond), Kim Ismay (Madame Morrible), Emily Shaw (Nessarose), Iddon Jones (Boq) and Nikki Bentley (Standby for Elphaba) will join the previously announced Aaron Sidwell (Fiyero) to lead the cast of the forthcoming return engagement of the spectacular, critically acclaimed and multi record-breaking UK & Ireland Tour in 2018.

Amy Ross (Elphaba) has most recently been starring as ‘Nicola’ in the hit musical Kinky Boots in the West End. She previously appeared in Sunny Afternoon, playing ‘Joyce’, at both the Hampstead Theatre and in the West End; Helen Woolf (Glinda) has most recently been appearing in the London production of WICKED and was also part of the original 2013 UK & Ireland Tour company. She has played the role of ‘Glinda’ on many occasions; Aaron Sidwell (Fiyero) has just finished playing ‘Steven Beale’ in the BBC’s EastEnders, a role he originally played in 2007/08. His many acclaimed musical theatre appearances include Grey Gardens (Southwark Playhouse), American Idiot (Arts Theatre, London) and the leading role of ‘Michael Dork’ in Loserville The Musical (West Yorkshire Playhouse and in the West End); still best remembered as ‘Max Farnham’ in Brookside, Steven Pinder (The Wizard and Doctor Dillamond) starred in the UK & Ireland Tour (joining in 2014) and on the International Tour of WICKED. He also played Doctor Dillamond in the West End. Kim Ismay (Madame Morrible), Emily Shaw (Nessarose) and Iddon Jones (Boq) all recently starred in the International Tour of WICKED; Nikki Bentley (Standby for Elphaba) has recently appeared in the Asian Tour of Ghost The Musical, the UK & Ireland Tour of Shrek the Musical and in Monty Python’s Spamalot in the West End.

The full UK & Ireland Tour cast is confirmed as Amy Ross (Elphaba), Helen Woolf (Glinda), Aaron Sidwell (Fiyero), Steven Pinder (The Wizard and Doctor Dillamond), Kim Ismay (Madame Morrible), Emily Shaw (Nessarose), Iddon Jones (Boq), Nikki Bentley (Standby for Elphaba), Charli Baptie, Jason Broderick, Samantha Brown, Hannah Cadec, Grace Chapman, James Davies-Williams, Howard Ellis, Amy Goodwin, Daniel James Greenaway, Jack Harrison-Cooper, Charlie Karlsen, Nicole Lupino, Stuart MacIver, Stacey McGuire, Sara Morley, Emily Olive Boyd, Georgia Rae Briggs, Paul Saunders, James Titchener, Helen Walsh, Amy Webb, Luke Woollaston and Benjamin Yates.

The tour will visit: Bristol Hippodrome (Wednesday 31 January – Saturday 3 March 2018); Liverpool Empire (Wednesday 7 – Saturday 31 March 2018); Birmingham Hippodrome (Wednesday 4 – Sunday 29 April 2018); Edinburgh Playhouse (Tuesday 8 May – Saturday 9 June 2018); Leeds Grand Theatre (Wednesday 13 June – Saturday 7 July 2018); Dublin Bord Gáis Energy Theatre (Tuesday 17 July – 1 September 2018); Sunderland Empire (Thursday 6 – Saturday 29 September 2018); Southampton Mayflower Theatre (Wednesday 3 – Saturday 27 October 2018, tickets on general sale from 29 September 2017); Cardiff Wales Millennium Centre (Wednesday 31 October – Saturday 24 November 2018) and Manchester Palace Theatre (Tuesday 4 December 2018 – Saturday 5 January 2019).

Wicked Meet the new cast WICKED 2018 UK & IRELAND TOUR

Acclaimed as “one of the greatest musicals of our time” (Daily Mail), “the hit musical with brains, heart and courage” (The Sunday Telegraph) and “a magical adventure that casts its spell on young and old” (Metro), WICKED tells the incredible untold story of an unlikely but profound friendship between two sorcery students and their extraordinary adventures in Oz, which will ultimately see them fulfil their destinies as Glinda The Good and the Wicked Witch of the West. Based on the acclaimed, best-selling novel by Gregory Maguire that ingeniously re-imagines the stories and characters originally created by L. Frank Baum in ‘The Wonderful Wizard of Oz’, WICKED has become a global phenomenon featuring astounding technical wizardry, stunning costumes, a compelling ‘untold’ story and show-stopping songs, including the incredible ‘Defying Gravity’.

A three-time winner of the theatregoer-voted WhatsOnStage Award for ‘Best West End Show’ and a two-time winner of the Olivier Audience Award, WICKED played a fifteen-city tour of the UK & Ireland from September 2013 – July 2015, winning five-star rave reviews at every venue. It resumed touring in July 2016 to embark on a major international tour including engagements in Singapore, Hong Kong, Manila, Shanghai and Beijing. This spectacular production will also play an engagement in Zurich immediately prior to its return to the UK & Ireland.

WICKED is shortly to become the 15th longest-running show in West End theatre history and is now in its 12th year at London’s Apollo Victoria Theatre, where it continues an open-ended run. Around the world, WICKED has been seen by over 53 million people in 15 countries, and won over 100 major awards.

WICKED has music and lyrics by multi-Grammy and Academy Award-winner Stephen Schwartz (Godspell, Disney’s Pocahontas, The Hunchback of Notre Dame and Enchanted and, for DreamWorks, The Prince of Egypt) and is based on the novel ‘Wicked: The Life and Times of the Wicked Witch of the West’ by Gregory Maguire and adapted for the stage by Winnie Holzman (My So-Called Life). Musical staging is by Tony Award-winner Wayne Cilento and the production is directed by two-time Tony Award-winner Joe Mantello.

WICKED is produced around the world by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt and David Stone. Executive Producer (UK & Ireland) Michael McCabe.

2018 UK & IRELAND TOUR SCHEDULE

Wicked UK & Ireland Tour

BRISTOL Hippodrome, Tuesday 5 February – Saturday 3 March 2018 Book Tickets

LIVERPOOL Empire, Wednesday 7 – Saturday 31 March 2018 Book Tickets

BIRMINGHAM Hippodrome, Wednesday 4 – Sunday 29 April 2018 http://ift.tt/2rMxesf

EDINBURGH Playhouse, Tuesday 8 May – Saturday 9 June 2018 Book Tickets

LEEDS Grand Theatre, Wednesday 13 June – Saturday 7 July 2018 http://ift.tt/1k0ZJHO DUBLIN Bord Gáis Energy Theatre, Tuesday 17 July – Sunday 26 August 2018 http://ift.tt/RbxcU5 SUNDERLAND Empire, Tuesday 4 – Saturday 29 September 2018 Book Tickets

SOUTHAMPTON Mayflower Theatre, Wednesday 3 – Saturday 27 October 2018 www.mayflower.org.uk CARDIFF Wales Millennium Centre, Wednesday 31 October – Saturday 24 November 2018 www.wmc.org.uk MANCHESTER Palace Theatre, Tuesday 4 December 2018 – Saturday 5 January 2019 Book Tickets

Wicked Apollo Victoria Theatre London

http://ift.tt/2y4zVJF LondonTheatre1.com

The transfer of Tony Cox’s Mrs Orwell from the Old Red Lion to the Southwark is intriguing. Charting the final few weeks of George Orwell’s life as he potters around his University College London hospital room in 1949, it is clear to see why the storyline appeals to most. Believing ardently that he has at least three more novels in him, George Orwell decides to wed again, to boost his morale through companionship and secure himself round-the- clock care. His choice, naturally, falls on his beautiful, gregarious 30-year-old friend Sonia Brownell, and after some deliberation, she agrees.

Brownell’s deliberation is minimal, which is hardly surprising given the whacking great fortune she stands to inherit when George finally succumbs to his tuberculosis. In many ways, this is what makes the play so intriguing – it is entertaining in its detail, and in the relationships between each character, but there is no real central conflict that the characters must grapple with. Sonia Brownell marries her friend George, but given his impotence and her lack of passion for him anyway, easily starts an affair with Lucian Freud (an incredibly slimy artist), whilst openly nursing a broken heart after being unceremoniously dumped by Maurice, who is never seen but oft-referred to. Perhaps if in Cox’s version these events weren’t so inevitable – if there were more struggle and anguish – it might have made for a more gripping play. As it is, Mrs Orwell is pleasant enough to watch, but I’m not sure it leaves any lasting impression.

That said, there is some fine acting in this production, not least from Peter Hamilton Dyer as George Orwell, who for all his coughing and spluttering has a certain strength and poise that is worthy of such a great writer as Orwell. His portrayal is perhaps the most moving; a famous writer, full of words and wit, yet utterly dependent on others for both his bedside care and happiness. Cressida Bonas is credible as Mrs Orwell, although I didn’t particularly care for her, perhaps because we are never let into her inner world either through the script or in performance, and Edmund Digby Jones is deliciously despicable as the mincing womaniser Lucian Freud. With a sparse set, the emptiness of Orwell’s life – loveless and bleak – is nicely matched by the distance between the characters in Jimmy Walters’ direction; the characters barely touch, and rarely seem to look at each other, which makes Orwell’s searching eyes all the more heartbreaking.

A solid production, Mrs Orwell does provide insight into what might have passed in the final chapter of Orwell’s life, but perhaps its greatest achievement is inspiring viewers, like me, to pick up his books once again in the hope of discovering more about the mind of this truly remarkable writer.

Review by Amy Stow

University College Hospital, London, 1949. George Orwell is in the last chapter of his life with a severe case of Tuberculosis. He still believes he has at least three novels in him so to keep his morale up he promptly proposes to friend Sonia Brownell (played by Bonas), a 30-year-old assistant magazine editor. When Sonia learns that she is his only hope, she must decide whether to succumb to the advances of Lucien Freud or enter a platonic marriage with one of the country’s most renowned writers.

The production explores the private side of one of the most public icons of the 20th century. This theme of public and private contrasts is reflected in the staging which reveals a hospital corridor behind Room 65, the hospital room where the action takes place.

Creative and Cast Writer Tony Cox Director Jimmy Walters Designer Rebecca Brower Lighting Designer Simon Gethin Thomas Musical Score Jeremy Warmsley Production Manager Ned Lay Stage Manager Andrina Drew Assistant Director Piers Sherwood Roberts Assistant Designer Daisy Blower Sonia Brownell Cressida Bonas George Orwell Peter Hamilton Dyer Lucian Freud Edmund Digby Jones Fred Warburg Robert Stocks Nurse Rosie Ede

Mrs Orwell Southwark Playhouse, 77-85 Newington Causeway, London SE1 6BD Tuesday 5th – Saturday 23rd September 2017 http://ift.tt/IyHGBX

http://ift.tt/2fc3yxF LondonTheatre1.com

The transfer of Tony Cox’s Mrs Orwell from the Old Red Lion to the Southwark is intriguing. Charting the final few weeks of George Orwell’s life as he potters around his University College London hospital room in 1949, it is clear to see why the storyline appeals to most. Believing ardently that he has at least three more novels in him, George Orwell decides to wed again, to boost his morale through companionship and secure himself round-the- clock care. His choice, naturally, falls on his beautiful, gregarious 30-year-old friend Sonia Brownell, and after some deliberation, she agrees.

Brownell’s deliberation is minimal, which is hardly surprising given the whacking great fortune she stands to inherit when George finally succumbs to his tuberculosis. In many ways, this is what makes the play so intriguing – it is entertaining in its detail, and in the relationships between each character, but there is no real central conflict that the characters must grapple with. Sonia Brownell marries her friend George, but given his impotence and her lack of passion for him anyway, easily starts an affair with Lucian Freud (an incredibly slimy artist), whilst openly nursing a broken heart after being unceremoniously dumped by Maurice, who is never seen but oft-referred to. Perhaps if in Cox’s version these events weren’t so inevitable – if there were more struggle and anguish – it might have made for a more gripping play. As it is, Mrs Orwell is pleasant enough to watch, but I’m not sure it leaves any lasting impression.

That said, there is some fine acting in this production, not least from Peter Hamilton Dyer as George Orwell, who for all his coughing and spluttering has a certain strength and poise that is worthy of such a great writer as Orwell. His portrayal is perhaps the most moving; a famous writer, full of words and wit, yet utterly dependent on others for both his bedside care and happiness. Cressida Bonas is credible as Mrs Orwell, although I didn’t particularly care for her, perhaps because we are never let into her inner world either through the script or in performance, and Edmund Digby Jones is deliciously despicable as the mincing womaniser Lucian Freud. With a sparse set, the emptiness of Orwell’s life – loveless and bleak – is nicely matched by the distance between the characters in Jimmy Walters’ direction; the characters barely touch, and rarely seem to look at each other, which makes Orwell’s searching eyes all the more heartbreaking.

A solid production, Mrs Orwell does provide insight into what might have passed in the final chapter of Orwell’s life, but perhaps its greatest achievement is inspiring viewers, like me, to pick up his books once again in the hope of discovering more about the mind of this truly remarkable writer.

Review by Amy Stow

University College Hospital, London, 1949. George Orwell is in the last chapter of his life with a severe case of Tuberculosis. He still believes he has at least three novels in him so to keep his morale up he promptly proposes to friend Sonia Brownell (played by Bonas), a 30-year-old assistant magazine editor. When Sonia learns that she is his only hope, she must decide whether to succumb to the advances of Lucien Freud or enter a platonic marriage with one of the country’s most renowned writers.

The production explores the private side of one of the most public icons of the 20th century. This theme of public and private contrasts is reflected in the staging which reveals a hospital corridor behind Room 65, the hospital room where the action takes place.

Creative and Cast Writer Tony Cox Director Jimmy Walters Designer Rebecca Brower Lighting Designer Simon Gethin Thomas Musical Score Jeremy Warmsley Production Manager Ned Lay Stage Manager Andrina Drew Assistant Director Piers Sherwood Roberts Assistant Designer Daisy Blower Sonia Brownell Cressida Bonas George Orwell Peter Hamilton Dyer Lucian Freud Edmund Digby Jones Fred Warburg Robert Stocks Nurse Rosie Ede

Mrs Orwell Southwark Playhouse, 77-85 Newington Causeway, London SE1 6BD Tuesday 5th – Saturday 23rd September 2017 http://ift.tt/IyHGBX

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Aaron Sidwell – Photo by Darren Bell

WICKED, the West End and Broadway musical phenomenon that tells the incredible untold story of the Witches of Oz, is delighted to announce that EastEnders star Aaron Sidwell will play Fiyero on the forthcoming return engagement of the spectacular, critically acclaimed and multi record-breaking UK & Ireland Tour in 2018.

Aaron Sidwell is currently playing ‘Steven Beale’ in the BBC’s EastEnders, a role he originally played in 2007/08. His many musical theatre appearances include Grey Gardens (Southwark Playhouse), American Idiot (Arts Theatre, London) and the leading role of ‘Michael Dork’ in Loserville The Musical (West Yorkshire Playhouse and in the West End).

Aaron Sidwell is scheduled to appear at all venues. The full UK & Ireland Tour cast will be announced in September.

The tour will visit: Bristol Hippodrome (Wednesday 31 January – Saturday 3 March 2018); Liverpool Empire (Wednesday 7 – Saturday 31 March 2018); Birmingham Hippodrome (Wednesday 4 – Sunday 29 April 2018); Edinburgh Playhouse (Tuesday 8 May – Saturday 9 June 2018); Leeds Grand Theatre (Wednesday 13 June – Saturday 7 July 2018); Dublin Bord Gáis Energy Theatre (Tuesday 17 July – 26 August 2018); Sunderland Empire (Thursday 6 – Saturday 29 September 2018); Southampton Mayflower Theatre (Wednesday 3 – Saturday 27 October 2018, tickets on sale September 2017); Cardiff Wales Millennium Centre (Wednesday 31 October – Saturday 24 November 2018) and Manchester Palace Theatre (Tuesday 4 December 2018 – Saturday 5 January 2019). For further details visit: http://ift.tt/12MSL2D

Acclaimed as “one of the greatest musicals of our time” (Daily Mail), “the hit musical with brains, heart and courage” (The Sunday Telegraph) and “a magical adventure that casts its spell on young and old” (Metro), WICKED tells the incredible untold story of an unlikely but profound friendship between two sorcery students and their extraordinary adventures in Oz, which will ultimately see them fulfil their destinies as Glinda The Good and the Wicked Witch of the West. Based on the acclaimed, best-selling novel by Gregory Maguire that ingeniously re-imagines the stories and characters originally created by L. Frank Baum in ‘The Wonderful Wizard of Oz’, WICKED has become a global phenomenon featuring astounding technical wizardry, stunning costumes, a compelling ‘untold’ story and show-stopping songs, including the incredible ‘Defying Gravity’.

A three-time winner of the theatregoer-voted WhatsOnStage Award for ‘Best West End Show’ and a two-time winner of the Olivier Audience Award, WICKED played a fifteen-city tour of the UK & Ireland from September 2013 – July 2015, winning five-star rave reviews at every venue. It resumed touring in July 2016 to embark on a major international tour including engagements in Singapore, Hong Kong, Manila, Shanghai and Beijing. This spectacular production will also play an engagement in Zurich immediately prior to its return to the UK & Ireland.

WICKED is already the 16th longest running show in West End theatre history and is currently celebrating 11 remarkable years at London’s Apollo Victoria Theatre, where it continues an open-ended run. Around the world, WICKED has now been seen by over 50 million people in 15 countries, and won over 100 major awards.

WICKED has music and lyrics by multi Grammy and Academy Award-winner Stephen Schwartz (Godspell, Disney’s Pocahontas, The Hunchback of Notre Dame and Enchanted and, for DreamWorks, The Prince of Egypt) and is based on the novel ‘Wicked: The Life and Times of the Wicked Witch of the West’ by Gregory Maguire and adapted for the stage by Winnie Holzman (My So-Called Life). Musical staging is by Tony Award-winner Wayne Cilento and the production is directed by two-time Tony Award-winner Joe Mantello.

WICKED is produced around the world by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt and David Stone. Executive Producer (UK & Ireland) Michael McCabe.

Wicked UK & Ireland Tour

BRISTOL Hippodrome, Tuesday 5 February – Saturday 3 March 2018 – Tickets on sale Wednesday 1 February 2017 at 10am (Theatre Card holders 25 January, Groups 10+ 30 January 2017) Book Tickets

LIVERPOOL Empire, Wednesday 7 – Saturday 31 March 2018 Tickets on sale Wednesday 1 February 2017 at 10am (Theatre Card holders 25 January, Groups 10+ 30 January 2017) Book Tickets

BIRMINGHAM Hippodrome, Wednesday 4 – Sunday 29 April 2018 Tickets on sale Tuesday 21 March (Friends 7 March, Groups 10+ 14 March 2017)

EDINBURGH Playhouse, Tuesday 8 May – Saturday 9 June 2018 Tickets on sale Wednesday 8 February at 10am (Groups 10+ 6 February 2017) Book Tickets

LEEDS Grand Theatre, Wednesday 13 June – Saturday 7 July 2018 Tickets on sale Friday 3 February (Friends 27 January, Groups 10+ 30 January 2017)

DUBLIN Bord Gáis Energy Theatre, Tuesday 17 July – Sunday 26 August 2018 Tickets on sale Friday 30 June at 10am

SUNDERLAND Empire, Tuesday 4 – Saturday 29 September 2018 Tickets on sale Wednesday 1 February 2017 at 10am (Theatre Card holders 25 January, Groups 10+ 30 January 2017) Book Tickets

SOUTHAMPTON Mayflower Theatre, Wednesday 3 – Saturday 27 October 2018 Tickets on sale September 2017

CARDIFF Wales Millennium Centre, Wednesday 31 October – Saturday 24 November 2018 Tickets on sale Monday 27 March (Promise members 27 February, Groups 10+ 20 March 2017)

MANCHESTER Palace Theatre, Tuesday 4 December 2018 – Saturday 5 January 2019 Tickets on sale Wednesday 1 February 2017 at 10am (Theatre Card holders 25 January, Groups 10+ 30 January 2017) Book Tickets

Acclaimed as “one of the greatest musicals of our time” (Daily Mail), “a wicked and wonderful vision of Oz” (London Evening Standard) and “one of the West End’s true modern classics” (Metro), WICKED is already the 17th longest running show in London theatre history and recently celebrated a decade of performances at the Apollo Victoria Theatre, where it continues an open-ended run. Around the world, WICKED has now been seen by over 50 million people in 15 countries, and won over 100 major awards (including 3 Tony Awards and 6 Drama Desk Awards on Broadway; 2 Olivier Audience Awards, 9 WhatsOnStage Awards and an Evening Standard Theatre Award in London; 6 Helpmann Awards in Australia and a Grammy Award).

WICKED played a fifteen-city tour of the UK & Ireland from September 2013 – July 2015, winning five-star rave reviews at every venue. The production, acclaimed by the Northern Echo as “the ultimate Broadway experience for theatre audiences all over the UK”, resumed touring in July 2016, playing a sold out engagement at the Alhambra Theatre in Bradford and is currently playing in Hong Kong and opens at The Theatre at Solaire in Manila on 2 February. Prior to returning to the UK & Ireland, WICKED will also play engagements in Shanghai and Beijing.

Based on the acclaimed, best-selling novel by Gregory Maguire that ingeniously re-imagines the stories and characters created by L. Frank Baum in ‘The Wonderful Wizard of Oz’, Wicked tells the incredible untold story of an unlikely but profound friendship between two sorcery students. Their extraordinary adventures in Oz will ultimately see them fulfil their destinies as Glinda The Good and the Wicked Witch of the West.

WICKED has music and lyrics by multi Grammy and Academy Award-winner Stephen Schwartz (Godspell and Disney’s Pocahontas, The Hunchback of Notre Dame and Enchanted) and is based on the novel ‘Wicked: The Life and Times of the Wicked Witch of the West’ by Gregory Maguire and adapted for the stage by Winnie Holzman. Musical staging is by Tony Award-winner Wayne Cilento and the production is directed by two-time Tony Award-winner Joe Mantello.

WICKED is produced around the world by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt and David Stone. Executive Producer (UK/International Tour) Michael McCabe.

Wicked Apollo Victoria Theatre London

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For its tenth anniversary year, CASA Festival joins forces with two of London’s leading off-West End theatres Southwark Playhouse and Arcola Theatre to offer London audiences eight weeks of brilliant Latin American theatre and culture.

The festival kicks off at Arcola with Sergio Blanco’s highly-acclaimed Thebes Land returning for a five-week run, ahead of a five-week season of four acclaimed international shows and three exciting new works by UK-based Latin American artists at Southwark Playhouse. Completing the programme are: a new verbatim piece about violence against Brazilian women and girls who live in the UK, a new theatre show about Peru and its food, and an eight-week festival of play readings of Latin America’s most exciting contemporary voices.

Daniel Goldman, Artistic Director of CASA, comments, I founded CASA in 2007 to build bridges between two incredible theatre cultures. The importance of international festivals that push our cultural boundaries has never been greater… We are delighted that we are celebrating our 10th year anniversary CASA 2017 at two of London’s finest Off West End theatres and we can’t wait to share this outstanding theatre programme with our existing audiences and new faces.

Highlights for CASA 2017 include: Thebes Land by Sergio Blanco, Uruguay (6th September – 7th October) The smash-hit, critically-acclaimed Thebes Land – winner of Best Production at the 2016 Off West End awards – returns to Arcola for 5 weeks only. In this exhilarating multiple-reality drama, playwright struggles to stage the incredible story of Martin Santos, a young man serving a life sentence for killing his father with a fork. As their interviews progress and opening night approaches, both of their worlds begin to unravel with shocking consequences. Will the truth be found, and can it be told? Trevor White and Alex Austin reprise their celebrated performances in Daniel Goldman’s funny, ingenious production, performed inside a giant steel cage.

Otelo by Viajeinmóvi, Chile (26th – 30th September) This fast, darkly funny and politically-charged puppetry reimagining of Shakespeare’s classic tragedy focuses on Desdemona’s murder to explore Latin America’s horrific record of femicide.

Taking the beginning of Act 4 of Shakespeare’s play as its starting point, Iago and Emilia join forces and minds to manipulate full-size mannequins, disembodied heads and Othello’s jealous heart with terrifying results. This is a masterclass in object theatre and making classics relevant today by Chile’s leading puppetry company who return to CASA after their critically-acclaimed performances of Chef in 2011. Performed in Spanish with English surtitles.

Osmo by Movicena, Brazil (3rd – 7th October) Based on a short story by one of Brazil’s leading female writers Hilda Hilst, this is the tale of Osmo, a serial killer with literary pretensions. While he is sitting at home in the bath trying yet again to write his memoirs, he receives a phone call from a friend inviting him to a dance. As he prepares for another night that will end in sex and murder, Osmo tells his remarkable story and muses with glorious irony on the aesthetic power of horror. Directed by acclaimed Susan Damsceno, Osmo features a masterful performance by Donozeti Mazonas who delivers the show fully naked in an open aquarium. This hilarious and deliciously macabre show, described by the company as anti-stand-up, has shocked and rocked audiences across Brazil. Performed in Portuguese with English surtitles.

UK Week (10th – 14th October, Southwark Playhouse) Discover three brand new full-length works by three of the UK’s most exciting artists of Latin American heritage. The artists are still being selected so watch this space to find out who will be sharing their talents for audiences to discover for the first time. Previous UK artists include Vicky Araico Casas (UK/Mexico) who won a deserved Fringe First for her show Juana in a Million and Tamsin Clarke (UK/Venezuela) whose brilliant Manuelita won a Three Weeks Editors Award.

Explore this year’s UK Week to see what the next generation is up to. The only thing a great actress needs is a great play and the desire to succeed by Vaca 35, Mexico (18th – 21st October). Inspired by Genet’s The Maids, two Mexican servants get ready for the day ahead. They cook breakfast, wash, dance and tell stories in a sharp and revelatory piece that shines a light on marginalisation, stereotyping and those who live in poverty with no hope of escaping their circumstances. Visceral, minimalist and beautifully performed, the production explores the fine line between humility and vanity, violence and vanity, while offering up the sacrifice of two very different female bodies to the audience gaze. Performed in Spanish with English surtitles Mendoza by Los Colochos, Mexico (24th – 28th October).

An earthy, radical reimagining of Shakespeare’s Macbeth set during Mexico’s War of Independence in the early 19th Century. General Mendoza is returning to camp when he stumbles across an old witch who prophesises that he will come to lead the army. Convinced into action by his wife, he begins a chain of grisly murders that will come to seem endless. Inspired by Juan Rulfo and Elena Garro and deeply connected to the Mexican soil, this thrilling fast-paced and blood-soaked ensemble production exposes Mexico’s downward spiral into the gruesome violence that exploded into the world’s consciousness with the massacre of the 43 students of Ayotzinapa. Performed in Spanish with English surtitles.

CASA is supported by an Arts Council England Grant for the Arts.

Thebes Land Performance Dates Wednesday 6th September – Saturday 7th October 2017 Monday – Saturday, 7.30pm Saturday matinees, 3pm Matinee performance on Wednesday 4th October, 3pm Running time 2 hours 15 minutes (plus interval) Location Arcola Theatre, 24 Ashwin Street, Dalston, London E8 3DL http://ift.tt/15L2mCZ, 020 7503 1646 Pay What You Can Tuesdays, in person from 6pm. Twitter @Casafestival, @arcolatheatre, #CASA2017, #ThebesLand Writer Sergio Blanco Director & Adaptor Daniel Goldman Set Designer Jemima Robinson Sound Designer Elena Peña Lighting Designer Richard Williamson Cast Trevor White, Alex Austin

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